Quantum Leap Hollywood Brass Virtual Instrument Manual... · chestra, Symphonic Choirs, Quantum Leap Pianos, Hollywood Strings, and Hollywood Brass are co-produced by Doug Rogers

EastWest/Quantum LeapHollywood BrassVirtual Instrument

Gold Edition

Users’ Manual

EASTWEST/QUANTUM LEAP HOLLYWOOD BRASS

ii

The information in this document is subject to change without notice and does not rep-resent a commitment on the part of East West Sounds, Inc. The software and sounds described in this document are subject to License Agreements and may not be copied to other media , except for the purpose of copying the data to the personal computer system hard drive of the licensed user. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by East West Sounds, Inc. All product and company names are ™ or ® trademarks of their respective owners.

PLAY™ is a trademark of East West Sounds, Inc.

© East West Sounds, Inc., 2011. All rights reserved.

East West Sounds, Inc. 6000 Sunset Blvd. Hollywood, CA 90028 USA

1-323-957-6969 voice

1-323-957-6966 fax

For questions about licensing of products: [email protected]

For more general information about products: [email protected]

http://support.soundsonline.com

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1

Click on this text to open the Master Navigation Document

1. Welcome

2 About EastWest 3 Producer: Doug Rogers 4 Producer: Nick Phoenix 5 Producer: Thomas Bergersen 6 Sound Engineer: Shawn Murphy 7 Credits 8 How to Use This and the Other Manuals 8 Using the Adobe Acrobat Features 8 The Master Navigation Document 9 Online Documentation and Other Resources


2Chapter 1: Welcome

Welcome

About EastWestEastWest (www.soundsonline.com) has been dedicated to perpetual innovation and un-compromising quality, setting the industry standard as the most critically acclaimed producer of Sample CDs and Virtual (software) Instruments.

Founder and producer Doug Rogers has over 30 years experience in the audio industry and is the recipient of over 60 industry awards, more than any other sound developer. His uncompromising approach to quality, and innovative ideas have enabled EastWest to lead the sound-ware business for more than 22 years.

In 1997 Rogers partnered with producer/composer Nick Phoenix and set up Quantum Leap, a wholly owned division of EastWest, to produce high-quality, no-compromise sample libraries and virtual instruments. Quantum Leap virtual instruments are mostly produced by Nick Phoenix. Some of the larger productions, such as Symphonic Or-chestra, Symphonic Choirs, Quantum Leap Pianos, Hollywood Strings, and Hollywood Brass are co-produced by Doug Rogers and Nick Phoenix. As a composer, Phoenix began scoring film trailers and television commercials in 1994. To date, he has either scored or licensed music for the ad campaigns of over 1000 major motion pictures including Tomb Raider 2, Terminator 3, Lord of the Rings Return of the King, Harry Potter 2, Star Wars Episode 2, Spiderman 3, Pirates of the Caribbean 3, Blood Diamond, Night at the Museum, and The Da Vinci Code. Quantum Leap has now firmly established itself as one of the world’s top producers of high-end sample libraries and virtual instruments.

In 2006, EastWest purchased the legendary Cello Studios (formerly United Western Re-corders) on Sunset Boulevard in Hollywood, re-naming it EastWest Studios. The 21,000 sq. ft. facility, since remodelled by master designer Philippe Starck, houses five record-ing studios and is the world headquarters for EastWest.

www.soundsonline.com


3Chapter 1: Welcome

Producer: Doug RogersWith over 30 years experience in the audio industry, founder and producer Doug Rogers is the recipient of over 60 industry awards, more than any other sound developer. His uncompromising approach to quality, and innovative ideas have enabled EastWest to lead the sound-ware business for more than 22 years. “The Art of Digital Music” named him one of “56 Visionary Artists & Insiders” in the book of the same name.

He released the very first commercial Drum Samples CD in 1988, and followed it with the multiple award-winning “Bob Clearmountain Drums” sample collection which he co-produced. In the years that followed he practically reinvented the sound-ware industry. EastWest introduced loop sample libraries to the market in the early nineties, followed closely by the first midi driven loops collection (Dance/Industrial). He released the first library to include multiple dynamics, followed by the first sample library to stream from hard disk, an innovation that led to the detailed collections users expect today.

His recent productions are Symphonic Orchestra (awarded a Keyboard Magazine “Key Buy Award,” EQ Magazine “Exceptional Quality Award,” Computer Music Magazine “Perfor-mance Award,” and G.A.N.G. [Game Audio Network Guild] “Best Sound Library Award”); and Symphonic Choirs (awarded Electronic Musician “2006 Editor’s Choice Award,” G.A.N.G. “Best Sound Library Award,” and Keyboard Magazine “Key Buy Award”). Most recently, his productions include Quantum Leap Pianos, the most detailed virtual piano collection ever produced; Fab Four, inspired by the sounds of the Beatles; and The Dark Side (Fab Four and The Dark Side were both M.I.P.A. Award winners, judged by 100 mu-sic magazines); plus Hollywood Strings and Hollywood Brass.

Over the last decade he has partnered with producer/composer Nick Phoenix and set up the Quantum Leap imprint, a subsidiary of EastWest, to produce high-quality, no-com-promise virtual instruments. EastWest/Quantum Leap virtual instruments are considered the best available and are in daily use by the who’s who of the industry.


4Chapter 1: Welcome

Producer: Nick PhoenixNick began scoring film trailers in 1994. To date, he has scored or licensed music for the ad campaigns of over 1000 major motion pictures. “Star Trek,” “Tron,” “Twilight,”

“2012,” “WALL-E,” “Harry Potter 6,” “Inkheart,” “Tales Of Despereaux,” “300,” “A Christmas Carol,” “Watchmen,” “Angels and Demons,” “Night at the Museum,” “Young Victoria,” “Avatar,” “The Fighter,” “Cars 2,” “Hanna,” “Inception,” and “Harry Potter and The Deathly Hallows” are a few recent examples. Nick founded “Two Steps From Hell” with Thomas Bergersen in 2006. www.twostepsfromhell.com

The journey as a composer has inspired Nick to record and program his own sounds and samples. Nick founded Quantum Leap Productions in 1997 and Quantum leap has since grown to be the world’s top producer of high-end virtual instruments. A 13-year partnership with Doug Rogers and EastWest has yielded award winning software titles such as Stormdrum 1 and 2, Symphonic Orchestra, Symphonic Choirs, Silk, RA, Voices Of Passion, Ministry Of Rock, Gypsy, Quantum Leap Pianos, Goliath, Hollywood Strings, and many others.

http://www.twostepsfromhell.com


5Chapter 1: Welcome

Producer: Thomas BergersenThomas Bergersen holds a composition and orchestration Master’s degree, and has worked in the capacity of composer, orchestrator, or music arranger on many Hollywood productions.

He founded Two Steps From Hell (www.twostepsfromhell.com) with Nick Phoenix in 2006 and has since written music for countless movie trailers. “Star Trek,” “Harry Potter 6,”

“Tales of Despereaux,” “The Dark Knight,” “Valkyrie,” “The Hulk,” “Rendition,” “Spider-Man 3,” “Golden Compass.” “The Assassination of Jesse James,” “Pirates of the Carib-bean 3,” “Babel,” “Hitman,” “I Am Legend,” “300,” “No Country For Old Men,” “Harry Potter 5,” “The Brave One,” “Wall-E,” “Blood Diamond,” “Speed Racer,” and “Night at the Museum” are a few recent examples.

Thomas is also a trumpetist and has performed on major TV productions including NBC News. In his pursuit of the ultimate realism in samples, he has produced a great num-ber of orchestral sample libraries for his own use. With Hollywood Strings, it was time to join forces with veteran producers Doug Rogers and Nick Phoenix, and to share this knowledge with the rest of the world. And this collaboration has continued with Holly-wood Brass

Thomas’ studio is located in Santa Monica, California. www.thomasbergersen.com

http://www.twostepsfromhell.com

http://www.thomasbergersen.com


6Chapter 1: Welcome

Sound Engineer: Shawn MurphyShawn Murphy is an Academy Award, C.A.S. (Cinema Audio Society), BAFTA, and Emmy award-winning sound engineer who has recorded and mixed the scores for more than 300 feature films including: “Indiana Jones and the Kingdom of the Crystal Skull,” “Star Wars: The Phantom Menace,” “Star Wars: Episode II - Attack of the Clones,” “Star Wars: Episode III - Revenge of the Sith,” “Star Wars: A Musical Journey,” “Jurassic Park,”

“Jurassic Park, The Lost World,” “Harry Potter and the Prisoner of Azkaban,” “Titanic,” “The Curious Case of Benjamin Button,” “The Bourne Ultimatum,” “Minority Report,” “Saving Private Ryan,” “Munich,” “The Passion of the Christ” (score mix), “X-Men: The Last Stand,” “Memoirs of a Geisha,” “Ice Age 2,” and “Ice Age 3.”

Hollywood Strings was the first virtual instrument collection he engineered. And his work with EastWest/Quantum Leap continued with Hollywood Brass.


7Chapter 1: Welcome

Credits

ProducersDoug Rogers, Nick Phoenix, Thomas Bergersen

Sound EngineerShawn Murphy

Production CoordinatorRhys Moody

ProgrammingJustin Harris, Nick Phoenix, Thomas Bergersen

ScriptingPatrick Stinson, Thomas Bergersen, Klaus Voltmer

EditingArne Schulze, Pierre Martin, Justin Harris, Michael DiMattia,

Jay Coffman, Spencer Putnam, Andrzej Warzocha

Art DirectionSteven Gilmore, Thomas Merkle, Doug Rogers, Nick Phoenix, Thomas Bergersen

Software Doug Rogers, Nick Phoenix, Rhys Moody, Klaus Voltmer, Klaus Lebkücher,

Julian Ringel, Patrick Stinson, Adam Higerd, Ezra Buchla,Truc Phan, Nick Cardinal, Jonathan Kranz

ManualJohn Philpit


8Chapter 1: Welcome

How to Use This and the Other ManualsAll documentation for the EastWest PLAY Advanced Sample System and its libraries is provided as a collection of Adobe Acrobat files, also called PDFs. They can be viewed on the computer screen or printed to paper.

Each time you install one of the PLAY System libraries, two manuals are copied to the file system on your computer:• The manual that describes the whole PLAY System. This, the largest of the manuals,

addresses how to install and use all aspects of the software that are common to all libraries.

• The library-specific manual, such as the one you are currently reading. This smaller document describes aspects that differ from one library to the next, such as the list of included instruments and articulations.

Using the Adobe Acrobat FeaturesBy opening the Bookmarks pane along the left edge of the Adobe Acrobat Reader, the user can jump directly to a topic from the section names. Note that some older versions of Acrobat Reader might not support all these features. The latest Acrobat Reader can be downloaded and installed at no cost from the Adobe web site. (As an example of a hyperlink, you can click on the last words of the previous sentence (“Adobe web site”) to be taken directly to the Adobe site.)

When reading this and other manuals on the computer screen, you can zoom in to see more detail in the images or zoom out to see more of the page at once. If an included picture of the user interface, or a diagram, seems fuzzy or illegible, then zoom in using one of several means provided in the Acrobat Reader software. Note that images are clearest and screen shots most legible at 200% and next best at 100%.

The Master Navigation DocumentBecause the EastWest PLAY System is a collection of components, each with its own User’s Manual, a Master Navigation Document (MND) is provided to allow users to jump quickly between these PDFs when being read on the computer screen. This MND is a one-page file with hyperlinks to the PLAY System documentation and to all the library manuals. Hyperlinks to this Master Navigation Document are found on the title page of each chapter in each document. From there, you can open any other document in the collection.

For example, if you’re reading something in this documentation for the EastWest/Quan-tum Leap Hollywood Brass library, and need to open the manual for the PLAY System as well, go to any chapter title page and click on the link that says, “Click on this text to open the Master Navigation Document.” It will open in a new window on the screen. In that document, click on the icon for the PLAY System and its manual will open in the same window, hiding the MND. You now have both the Hollywood Brass library manual and the PLAY System manual open in separate windows so you can refer to them both.

www.adobe.com


9Chapter 1: Welcome

Separate Gold and Diamond ManualsThe EastWest/Quantum Leap Hollywood Brass virtual instrument is available in two ver-sions: Gold and Diamond. And each has a manual slightly different from the other, so it is important that you use the correct version of the manual. This is the manual for the Gold Edition. If you have the incorrect version of the manual, contact Technical Support at EastWest.

Online Documentation and Other ResourcesFor the most up to date information, visit the support pages at EastWest’s web site. There you can find:• information made available after these manuals were written• FAQ pages that may already list answers to questions you have• suggestions from EastWest and other users of the EastWest PLAY System• news about upcoming releases

The address is: http://support.soundsonline.com

You can also visit the EastWest online forums. There you can read comments and ques-tions from others who use EastWest products and post your own. The many forum par-ticipants are a good source of helpful information about both the technical and musical aspects of this software.

The address of the forums is: http://www.soundsonline-forums.com

If you visit the forums to receive support from EastWest (instead of going directly to the support site listed above), make sure you post your support request in the Support forum and not in the General Discussion forum.


http://www.soundsonline-forums.com


10


2. Hollywood Brass, An Overview

11 The Design Point For the Hollywood Brass Library 13 Comparison of the Diamond and Gold Editions 13 What’s Included 14 Hardware Requirements


11Chapter 2: Quantum Leap Hollywood Brass, An Overview

Hollywood Brass, An Overview

The Design Point For the Hollywood Brass LibraryFollowing in the tradition of the companion Hollywood Strings library, Hollywood Brass was designed to be the most detailed collection of brass orchestral instruments ever as-sembled. And with their long history of creating virtual instruments, writing and scoring the music for hundreds of actual Hollywood trailers and films, co-producers Doug Rogers, Nick Phoenix and Thomas Bergersen already understood what was needed to create the authentic Hollywood sound.

Another factor in defining the sound of this library is that it was recorded in EastWest Studio 1, formerly Western Recorders and then Cello Studios. The recordings created in this building have, for decades, received more engineering awards than those in any other studio.

Producers Doug Rogers, Nick Phoenix, and Thomas Bergensen, with (2nd from left) Sound Engineer Shawn Murphy

The combination of the right producers, an actual Hollywood recording studio, the best mics and other recording hardware available, and brass players familiar with the Holly-wood sound all came together to capture the authentic sound you can hear in this virtual instrument.



When designing the Hollywood Strings and Hollywood Brass libraries, the producers decided to take advantage of the recent advances in computer technology that make pos-sible instruments of greater complexity to achieve more realistic results than libraries of even two years ago. For example, for over 20 years libraries have been recording multiple dynamics for each articulation and layering them to capture the different timbres heard at different dynamic levels. These libraries usually used the MIDI Velocity parameter to select which layer to play back. While this approach achieved excellent results, it meant that typically 2 to 5 distinct layers were available, and timbre could not change mid-note.

Those libraries would use cross-fades for a small number of patches where mid-note changes were beneficial. But they kept the number of those cross-fades small to prevent their greater use of the computer’s memory from becoming overwhelming. In Hollywood Strings and Hollywood Brass, the producers greatly expanded the use of cross-fades, both in their numbers and in how many concurrent voices participate in the cross-fades within a given patch. This approach results in instruments that capture the way brass instruments can vary the sound during a crescendo or swell, like a live musician playing an acoustic instrument.

Studio 1 at EastWest Studios, during setup for the recording sessions

The EastWest sample player software, known as PLAY, had to undergo a few improve-ments in versions 2.0 and then 3.0 to make these larger instruments possible, especially to improve the efficiency of the software when loading and playing back large numbers of samples in a single instrument.

When all these factors come together, they create a virtual instrument of unparalleled detail and power. With about 360 instruments and over 370,000 sample files, the li-brary captures the great variety of sounds possible in a modern brass orchestra. (These



numbers refer to the Diamond Edition; the Gold Edition numbers are smaller.) The PLAY Sample engine lets you create performances that will excite your creativity.

Comparison of the Diamond and Gold EditionsThe Gold Edition is mostly a subset of the Diamond Edition. It is intended for those with smaller or less capable computer systems, and for those looking for most of the features and power of the Diamond Edition but at a smaller price. Here are the differences:• Bit Depth: the samples in the Diamond Edition are 24-bit; those in the Gold Edition

are 16-bit.• Delivery: the Diamond Edition is provided on a hard drive; the Gold Edition is provided

on a set of DVDs.• Mic Positions: The Diamond Edition includes samples from 5 independent mic posi-

tions that can be mixed together to achieve control over both acoustic vantage and spaciousness of the sound; the Gold Edition provides a single mic position.

The list of articulations for the two libraries are the same, except as described above.

Those with a Gold Edition license can upgrade to the Diamond Edition license (and receive the extra content) by contacting EastWest. Details about upgrading are also available on the SoundsOnline.com website.

What’s IncludedThis EastWest/Quantum Leap Hollywood Brass library (Gold Edition) you purchased in-cludes all the following:• a complete set of sample-based instruments, enumerated later in this manual• approximately 22 Gigabytes of 16-bit, 44.1 kHz samples• the EastWest PLAY 3 Advanced Sample Engine• the unique authorization code that identifies the license you bought• manuals in Adobe Acrobat (.PDF) format for both the EastWest PLAY 3 System and

the EastWest/Quantum Leap Hollywood Brass Virtual Instrument• an installation program to set up the library, software, and documentation on your

computer• an Authorization Wizard for registering your license in an online database

One required item not usually included is an iLok security key. If you already have one from an earlier purchase of software, you can use it. Otherwise, you need to acquire one. They are available from many retailers that sell EastWest and Quantum Leap products, or you can buy one online at www.soundsonline.com.



Hardware RequirementsSee the Play System manual for a complete list of the Hardware and Software Require-ments for installing and running any PLAY System library.

Because both the size and complexity of many of the Hollywood Brass instruments are greater than in other PLAY libraries, you will likely need an even more capable system than is recommended for those other libraries:• Intel or AMD quad-core processor, or higher, running at a minimum of 2.66 GHz• 8 GB of RAM or more• a 64-bit operating system; and a 64-bit host when running PLAY 3 as a plug-inNote that this is a recommended system, and is more powerful than the minimum of what is required.

Solid State DrivesThere is no doubt solid state drives (SSDs) are a revolution for storing and streaming samples. While currently more expensive than traditional hard drives, the seek and re-trieval times are almost instantaneous, which means you may be able to create even larger projects and/or to use lower latencies without needing workarounds to avoid dis-ruption of the audio output. For the largest instruments in Hollywood Brass, SSDs may be your only option (light programs are provided for other users), and the number of mic positions that can be accessed simultaneously may also be dependent on solid state drives. Installing 2 or more smaller SSDs with a true hardware RAID 0 solution offers the best performance. For professional users, we recommend consulting computer system specialists to achieve the best performance.

EastWest has done extensive testing in which PLAY 3 running with solid state drives for the samples and instruments was able to reproduce over 700 concurrent voices without any pops, clicks, or other artifacts that can occur when the same sequence streams from a traditional hard drive.

This difference indicates that it is not the PLAY 3 software that provides the bottleneck in the data flow, but rather the “seek time” required to locate the many hundreds of samples on a traditional hard drive when they need to be streamed to the CPU all at once. For those composers and orchestrators looking to build large projects using the kinds of instruments that add realism through the use of complex cross-fades, solid state drives (along with more than 8 GB of RAM) can help make that happen.

Requirements for Sample StorageThe available space on the hard drive required for an installation of EastWest/Quantum Leap Hollywood Brass (Gold Edition) is approximately 22 GB (Gigabytes).


15


3. The Hollywood Brass User Interface

17 Performance 18 Round Robin Reset Button 19 Stereo Double Controls 19 The Master Button and Pre-Delay Knob in the Reverb Controls 20 The Graphical Representation of the Envelope 20 The Browser View 20 Performance Scripts


16Chapter 3: The EWQL Hollywood Brass User Interface

The Hollywood Brass User InterfaceEach PLAY library presents its own interface when one of its instruments is the current one, as specified in the Instruments drop-down in the upper right corner. The image at the bottom of the page provides an overview of the entire window in Player View when the current instrument is from the Hollywood Brass library.

Much of this interface is shared by all PLAY System libraries, and the common features are described in the PLAY System manual. The Hollywood Brass-specific controls de-scribed later in this section are those listed on the next page. If you don’t see a control described in this chapter, look at the PLAY System manual; that’s the other manual installed on your hard drive during program setup.



Here are the controls described in this manual (and not in the PLAY 3 System manual):• Performance (4 buttons)• Round Robin Reset• Stereo Double• the graphical representation of the Envelope

PerformanceThere are five buttons grouped together in the Perfor-mance section. They include three buttons for turning on and off scripts specific to Hollywood Brass that can control performance parameters:• Portamento Sim• Repetition Sim• Legato Sim

“Sim” is short for Simulation; that is, these buttons control scripts that help to simulate the named feature.

A fourth button turns on or off the restriction that a legato instrument should interpret all notes as monophonic (even when the notes overlap in time):• Monophonic True Legato

The fifth button in the group, Round Robin Reset, is described in its own section below.

See the section on Performance Scripts, starting on page 20, for information on how to use the three scripts that have user-modifiable parameters: Portamento, Legato, and Repetition. You can also read there about using MIDI control codes to turn these scripts on and off.

When you first open an articulation, there are default settings (On or Off) for each of these three scripts, as chosen by the EastWest sound designers. If you want a different set of defaults, you will need to save the .ewi file that way and load your new version when you need it.

Legato Sim ButtonLegato is the style of playing notes in a phrase with no significant silence between them in order to produce a smooth and flowing melodic line. Use this button to turn on a legato effect for the articulation. This script-based effect is separate from the actual Legato instruments included in Hollywood Brass. For information on how the Legato script com-pares with the Legato instruments, see the discussion starting on page 50.

Portamento Sim ButtonPortamento, also sometimes called glissando, is the technique of a continuous slide in pitch from one note to the next note in the phrase. Portamento, as available with this script, is usually a short, anticipatory movement between the pitches of two adjacent notes.



Turning on the Portamento script in a phrase is a subtle way to increase a sense of real-istic playing.

Repetition Sim ButtonRepetition, in this context, refers to the playing of a single pitch more than once with no different notes played between them in the same phrase. Turning on this button causes repeating notes to sound slightly different, avoiding the sense of mechanical repetition. See a more complete description of the repetition script, starting on page 22, for more on how to use this feature.

Monophonic True Legato ButtonTurning on this button causes a legato instrument to become monophonic. That is, if one note is still playing when another note starts, the first note will be terminated, even though the MIDI note has not yet reached the Note Off event. If you choose to turn off this behavior so that you can have more than one melodic line at once in a single in-stance of a legato patch, you run the risk of PLAY making inappropriate slurs from one melodic line to the other.

Round Robin Reset ButtonA round robin articulation is one in which several different samples are recorded with all parameters, such as volume, speed of attack, and so on, being essentially constant. The PLAY Engine then knows to alternate between the two or more samples during playback. The goal is to avoid what’s often called the “machine gun effect,” in which playing the same sampled note repeatedly causes the unnatural sound of consecutive notes being mechanically identical.

Any articulation with “RR” in its name uses round robin technology. Those with an “x3,” “x4,” or the like in the name, use 3, 4, or more different samples for each note

There’s one potential problem with round robin technology, and one way to solve it is the Round Robin Reset button. The PLAY Engine remembers which sample should

be played the next time the note sounds. If, for example, a round-robin patch contains two samples, A and B, and a piece uses that note 7 times, the PLAY Engine plays A B A B A B A. If the piece is played again from the beginning, the engine will play starting with B, because that’s next in order. The second rendition will be subtly different. Being able to reset all round-robin articulations to the beginning of the cycle allows for consis-tent playback.

You can use this button to reset all round robin articulations on demand. Or use your choice of a MIDI note or MIDI control code to reset them one instrument at a time from a MIDI keyboard or the data stored in a sequencer project. See the description of the Settings dialog (in the main PLAY System manual) for more information about this articulation-specific approach.



Stereo Double ControlsThis knob, with its three buttons, gives the user the option of using exclusively the left stereo signal or right when “Stereo” is selected from the Channel Source drop-down. For any other setting, this con-trol has no effect.

The knob lets the user determine the spread of the signals, how far apart the ear per-ceives the stereo channels to be. A value of 0% brings the two channels together at the center (unless the Pan knob positions the output differently), and is the equivalent of turning off the controls with the button below the knob. A value of 100% calls for the maximum spread available. Select between the left and right signal with the L and R buttons, respectively.

The Master Button and Pre-Delay Knob in the Reverb ControlsThe common features of the Reverb Controls are explained in the main PLAY System manual, but the Hollywood Brass user interface includes two feature not in all PLAY libraries:

The Master ButtonWhen this button is pressed and the On light is illuminated, the Reverb for this instru-ment applies to all the other instruments in this instance of PLAY, including instruments from libraries that do not include a Master button.

If the Master button is already engaged in another instrument in the current instance of PLAY, and the Master button is pressed in a new instrument, then the settings in the UI of the new instrument be-come the settings for all instruments in this PLAY instance.

The processing of high-quality reverb can be very CPU-intensive and it is often the case that you want to use the same reverb on all the instruments in an audio track. Engaging the Master Reverb button allows you to run a single instance of the reverb processor and have the effect apply to multiple instruments.

When you engage the Master button, PLAY puts up a warning message, as shown above, to remind you that the reverb settings in this instrument will now apply to all instruments in this instance.

The Pre-Delay KnobIncreasing this level delays the onset of the reverb so that the initial section of the sample is unaffected. This feature allows the sound of each attack to maintain its true color while the rest of the note still gains the benefit of the reverb effect.



The Graphical Representation of the EnvelopeThe Envelope Controls are described in the main PLAY System manual because they are common to all PLAY System libraries. Only some libraries include the graph, as shown here, so it is in-cluded in the manuals for those libraries only.

Note that the total width of the graph represents the total length of all phases of the envelope. Therefore, when you change some-thing in one part of the graph, for example, the length of the decay, you may see the slopes of other components, the attack and the

release, change as well because those phases become a larger or smaller percent of the whole; this is as expected.

The Browser ViewThe Browser behaves identically among all PLAY System libraries. Read the main PLAY System manual for information about how to use that view.

Performance ScriptsThe Hollywood Brass Virtual Instrument includes three user-modifiable, built-in scripts that can provide extra realism to phrases that take advantage of their benefits:

• The Portamento script provides a sliding pitch between consecutive notes in a phrase. This can be used to emulate the subtle portamento that occurs, for example, when a brass player uses his breath to bend a note a little at the beginning or end of a sound-ing note.

• The Repetition script changes the quality of the notes when a single pitch is played multiple times in quick succession. Although similar to what can be achieved with Round Robin patches, the effect can be used on any articulation, not only those with

“RR” in the name.

• The Legato script creates a more flowing and connected sound for notes in a continu-ous phrase.

The scripts themselves are not modifiable by the user, but important parameters can be adjusted using MIDI control codes. See details of how to use the control codes in the descriptions that follow.

In order for a script to actively affect the notes in an articulation file, the script must be activated in the PLAY user interface. The image above shows the Legato script turned off and the other two scripts turned on. In addition, the appropriate MIDI Control Code must not be turned Off; that means if MIDI values are being generated for the On/Off code on this channel, as in the table below, they must currently be in the range 64 to 127; if



MIDI CC values are not being generated, the Control Code is considered On (as long as the light in the user interface is On).

The effect of engaging the Portamento or Legato effect is subtle. The goal is the sound of smooth, connected playing and not anything so pronounced that it will draw attention to the effect itself. These two scripts share many features in the ways they affect the sound; that is, the Legato script includes a small portamento component and vice versa.

MIDI Control CodesThese MIDI values can be controlled in standalone mode by adjusting the controls (knobs or sliders) on a “control surface” or MIDI keyboard. When run as a plug-in inside a se-quencer or other host, you can create a controller envelope to automatically adjust values during playback. See the documentation from your hardware or software for information about how to change the values of control codes.

The following table lists the codes that affect these scripts. Note that the MIDI Control Codes have no effect unless the corresponding script is turned on in the PLAY interface.

Code Portamento Repetition Legato

5 Time Time

65 On/Off

68 On/Off

69 On/Off

The three On/Off control codes all work the same way: a value 64 or higher turns the script on and any other value (0–63) turns the script off.

CC 5 affects the duration of the portamento or legato. The possible values are 0–127. The higher the value the longer the effect takes to complete; that is, you should set higher values to make the sound more pronounced. Use your ear to find the right values for each note in the phrase.

The image at the left shows two envelopes affecting the Portamento script in a host. The nine white horizontal bars are the notes. The light-gray line that jumps from the top to near the bottom and back to the top is CC 65 that turns the script on and off so that only some notes use portamento. The curving line near the middle is CC 5, setting the effect’s “Portamento time” parameter for each note individually. (Note that the middle section, when the CC 65 line is near the bottom, CC 5 actually has no effect because the script is turned off at that point.)

Monophonic BehaviorBoth the Portamento and Legato scripts change the instrument so that it can play only one note at a time whenever the script is turned on. If a note is still playing when a new



note starts, the first note will end at that moment. This behavior allows for no ambiguity in how the notes form a phrase.

One consequence of this behavior is that if you want two concurrent legato lines—or one legato and one non-legato line—played with the same articulation, you need to open the same articulation file more than once and turn on the Legato script where appropriate. Of course, the same rule holds for the Portamento script.

Repetition ScriptWhen playing consecutive notes of the same pitch, the use of a single sample over and over in quick succession can sound mechanically identical, which is called the “ma-chine gun effect.” The Round Robin patches are one way to fix this problem. The Repeti-tion script solves the same problem in another way. For any articulation, this script uses one or more of three randomly selected options to keep the sound a little different on each repetition:• Use the sample for a nearby note (for example, a half step higher or lower) and retune

it to the needed pitch.• Start the note a tiny amount before or after the specified start time.• Detune the sample a few cents (hundredths of a semitone) higher or lower.This variability gives the sound a more human, less robotic, feel. After all, what human instrumentalist plays every note exactly on pitch and at exactly the notated time?

The producers have selected which of these three approaches will be used for each ar-ticulation file—and how much variability to allow—to achieve the most realistic behavior. That is, some patches randomly use all three approaches, while others may use only one or two of them.

Note that Repetition scripts do not have the equivalent of the Round Robin Reset button to ensure an identical sound every time the same track is bounced to audio. The random-ness of the results is a feature. You need to decide how important exact repeatability is when selecting either a round robin patch or the Repetition script.

The Articulations Control and KeyswitchesIn the center of the Player view is a control that lists the articu-lations available in the current window. Often this list is short, containing only the one articulation given in the instrument name, and perhaps its release trails on a separate line. The image at the right shows the control for the 6FH Legato Slur instrument.

The checkboxes at the left of the control allow you to deactivate any articulation (turn it off while leaving its samples in memory) or, separately, to unload the samples from memory. The small knobs in the third column allow you to adjust the loudness of each articulation without affecting the loudness of the others.


23


4. Instruments, Articulations, and Keyswitches

24 The Tables of the Instruments 26 Table of Solo Instruments 29 Table of the Instrumental Sections 33 01 Long 34 02 Short 36 03 Effects 38 04 Keyswitch 39 05 Legato 40 06 Mutes


24Chapter 4: Instruments, Articulations, and Keyswitches

Instruments, Articulations, and KeyswitchesThe EastWest/Quantum Leap Hollywood Brass virtual instrument is a library designed to create brass orchestrations of the kind heard in movie soundtracks—but, of course, it can be used for many other types of brass music, as well. And it mixes well with other virtual instruments from EastWest/Quantum Leap, so feel free to add in strings, guitars, percussion, voices, whatever you can imagine. This library and other libraries in the EastWest/Quantum Leap “Hollywood” series are designed to work together particularly well; they include the same variety of microphone positions and other features that help them blend into a unified sound.

The library contains instruments that cover several groups of brass instruments in various configurations:• Trumpets — Solo; 2; 3• Trombones — Solo; section of 2 Trombones plus 1 Bass Trombone• Cimbasso — Solo• Tuba — Solo• French Horns — Solo; 2; 6• Low Brass — the sound of multiple brass instruments playing, usually in unison

The following pages include a table that lists each instrument in the Hollywood Brass library. You might want to print out the pages containing this table as a reference.

The Tables of the InstrumentsThe sounds of each instrument are provided in the form of one or more instrument files (with extension .ewi in the Browser view), often representing separate articulations. Within some instrument files may be several articulations that can be selected in one of several ways:• through the on-screen UI• with keyswitch notes• by moving the Mod Wheel

Most of the rest of this chapter documents the instruments and articulations for this library.



The Categories of InstrumentsFor all 6 sections and all of the 5 solo instruments in this library, the list of instruments is divided into categories. In the Browser, they appear as separate folders:• 01 Long• 02 Short• 03 Effects• 04 Keyswitches• 05 Legato• 06 Mutes(The number at the start of each category name is there to make sure this list always appears in this order within the Browser.) These categories appear as section headers within the following table to help you find instrument files in the tables and in the Browser.

An Important Note on Dynamics in Hollywood Brass InstrumentsAs discussed in multiple places within EastWest manuals, there are several ways you can affect with MIDI parameters how loudly an instrument should play:• MIDI Velocity• the Mod Wheel, CC 1• Volume, CC 7• Expression, CC 11

Volume and Expression work on any and all instruments. Volume should be used to set a loudness level relative to other instruments. And Expression should be used to shape the continually changing dynamics and expressiveness of each instrument. Neither Volume nor Expression change the timbre of the instruments, only the loudness.

Hollywood Brass instruments use either MIDI Velocity or the Mod Wheel—or both—to affect the sound of the instruments when they are played louder or softer. As a general rule, in Hollywood Brass:• Staccato, Marcato, and Portato: use Velocity• Sus Accent, Slur accent, Marcato Light Sus, and Shorts Mod Speed: use both Velocity

and the Mod Wheel to affect different parts of the sound• the rest: use the Mod WheelFor more detail, see the description of specific instruments later in this chapter.

Many Hollywood Brass instruments rely on the Mod Wheel to cross-fade between sam-ples instead of selecting which sample to play based on the MIDI Velocity parameter of each note. This approach gives the composer much more of a continuous control over both the loudness and the timbre. But this control comes with a price: greater use of the computer’s resources, especially the RAM and the processors. As is mentioned in some of the instrument descriptions below, PLAY might be playing up to 8 concurrent samples for each note (not including release trails).



Use the guidelines earlier in this section to learn whether to use Velocity, the Mod Wheel, or both, but if you find that an instrument is not responding to one of the ways of specify-ing loudness, investigate using other means to get the dynamics you’re looking for.

Overview of the Instruments in Hollywood BrassThe following 2 tables, each of which extends over several pages, list the instrument files available for each solo instrument or each section. A check mark in a cell indicates that an .ewi file as named at the left of the row is available for that solo instrument or section named at the top of the column.

This table does not explore the articulations available within each instrument file; that level of detail is provided later in this chapter.

When one section does not include an instrument or articulation you’re looking for, you may be able to try one of the following approaches to get an approximation of the sound you want:• Use that same patch from a different section. You may be able to mask differences in

timbre with the use of EQ, and/or by doubling with a different patch from the correct section.

• Use a similar patch from the correct instrument. Then experiment with changing the AHDSR envelope and/or other parameters to bring the sound more into line with the sound you want.

You may find that the sound is close enough to what you wanted in the first place that no one will notice, especially in the middle of multi-part writing.

The page numbers in the last column are hyperlinks to descriptions and features avail-able for that instrument file; click on any number (when the manual is viewed on a screen) to jump to that page.

Solo instruments are listed in the first table. Instrumental sections are listed in a follow-ing table.

Table of Solo InstrumentsINSTRUMENT OVERVIEW: SOLO INSTRUMENTS Page01 Long Trpt Trbn Cimb Tuba HornSus 33Sus Vibrato

Sus Non-Vibrato

Sus Lite 33Sus Marcato Long 33

Sus Marcato Short 33Sus Accent 33

continued



INSTRUMENT OVERVIEW: SOLO INSTRUMENTS PageExpressive Vibrato

Sus with Pitch Waver

Portato 34Portato Short

Portato Long

Legato Repetitions RRx4 34Mariachi Sus 3402 Short Trpt Trbn Cimb Tuba HornMarcato Long RRx4 35Marcato Short RRx4

Marcato Long Double Tongue RRx4

Marcato Short Double Tongue RRx4

Repetitions Fast 170 35Repetitions Medium 145

Repetitions Slow 120

Staccato Double Tongue RRx9 35Staccatissimo Double Tongue RRx9

Staccato 8va Ped RRx4

Staccatissimo RRx9 35Staccatissimo Double Tongue RRx9

Shorts Mod Speed 35Sforzando Crescendo 3603 Effects Trpt Trbn Cimb Tuba HornCrescendo 37

Crescendo Fast

Crescendo Medium

Crescendo Slow

Crescendo Mod Speed

Trill HT

Trill WT

Trill KS

8va Ped

Flutter Tongue

Flutter Crescendo 38

continued



INSTRUMENT OVERVIEW: SOLO INSTRUMENTS PageShake Fast

Shake Medium

Ped Flutter

Rips 37

Rips RR

Rip Flutter

Rip Shake Fast 37

Rip Shake Medium

Rip Shake Slow

Rip Trill

04 Keyswitch Trpt Trbn Cimb Tuba HornKeyswitches available in an update 3805 Legato Trpt Trbn Cimb Tuba HornLegato Slur 39Legato Slur Accent 40

Legato Slur Repetitions 40

Legato Slur Runs 40

Vibrato Legato Slur

06 Mutes (or 06 Jazz for Trombone) Trpt Trbn Cimb Tuba HornMute Sus 40Mute Sus Accent

Stop Sus

Stop Sus Accent

Stop Staccato RRx4

Mute Stac’issimo Dble Tongue RRx9

5th Slide Crescendo

Doit RR

Falls

Growl

Growl Crescendo

Half Tone Slide Crescendo

Jazz Marcato

Jazz Shake Medium

Jazz Shake Slow

continued



INSTRUMENT OVERVIEW: SOLO INSTRUMENTS PageTrpt Trbn Cimb Tuba Horn

Legato Slide

Long Falls

Mute Falls

Mute Slide Up RR

Mute Tongue Slur RR

Mute Cab Slide Up

Mute Old Timey

Mute Vibrato Fall

Old Timey Slide Up

Old Timey Staccato RRx3

Plunger Fast Sus

Plunger Fast

Plunger Growl

Plunger Sputter

Plunger Staccato RRx3

Plunger Wah-wah

Plunger Forte

Slide Up RR

Staccato Growl

Sus Vibrato

Table of the Instrumental SectionsNote that in the Trombones column, the heading “2 + 1B” refers to a section that in-cludes 2 (Tenor) Trombones and 1 Bass Trombone.

INSTRUMENT OVERVIEW: SECTIONS Page01 Long Trumpets T’bones Horns Low

2 3 2 + 1B 2 6 BrassSus 33Sus Lite 33Sus Accent 33Sus Marcato Long 33Portato 34

Legato Repetitions RRx4 34

continued



INSTRUMENT OVERVIEW: SECTIONS Page02 Short Trumpets T’bones Horns Low

2 3 2 + 1B 2 6 BrassMarcato Long RRx4 35Marcato Long Double Tongue RRx4

Marcato Short Double Tongue RRx4

Repetitions Fast 170 35Repetitions Medium 145

Repetitions Slow 120

Sforzando

Sforzando Crescendo 36Staccato RRx9 35Staccato Double Tongue RRx8

Staccato Double Tongue RRx8 MOD

Staccatissimo RRx5 35Staccatissimo RRx9

Stacatissimo Double Tongue RRx9

Triple Perf RRx3 36Shorts MOD SPEED 3503 Effects Trumpets T’bones Horns Low

2 3 2 + 1B 2 6 BrassClusters 38

Cluster Bend

Cluster Dance FX

Clusters Blast

Clusters Tight

Clusters Wide

Creepy Sustains

Crescendo Fast 37Crescendo Medium

Crescendo Slow

Crescendo MOD SPEED

Crescendo Split

Crescendo Split Slow

Elephants

continued



INSTRUMENT OVERVIEW: SECTIONS PageTrumpets T’bones Horns Low2 3 2 + 1B 2 6 Brass

FIutter Crescendo Fast

Flutter 5th

Fall Long

Fall Short

Flutter Tongue

Flutter Clusters

Fourth Split

Rips 37

Rips RR

Rips 2 RRx3

Rips ff RRx3

Rip Flutter

Rip Shake RR

Rip Trill

Shake 37

Sforzando Crescendo

Trill HT

Trill WT

Trills KS

Run Trill

Rises and Oddities 38Sus FX 38

Chaos FX

Hockey Rise

Repetition Crescendo Fast

Repetition Crescendo Slow

Slow Rise FX

Stab Cluster RRx3

Sus Pitch Waver

continued



INSTRUMENT OVERVIEW: SECTIONS Page04 Keyswitch Trumpets T’bones Horns Low

2 3 2 + 1B 2 6 BrassKeyswitches available in an update 3805 Legato Trumpets T’bones Horns Low

2 3 2 + 1B 2 6 BrassLegato Slur 39Legato Slur Accent 40Legato Slur Repetitions 40Legato Slur Runs 40Legato Slide 3906 Mutes Trumpets T’bones Horns Low

2 3 2 + 1B 2 6 BrassMute Sus 40

Stop Sus 40

Mute Sus Accent

Stop Sus Accent

Mute Legato Slur

Mute Staccato RRx3

Stop Staccato RRx4

Stop Staccato Double Tongue RRx9

Mute Staccatissimo Dbl Tongue RRx9

Mute Cluster Bend

Mute Cluster Out

Mute Flutter Crescendo

Mute Flutter Crescendo Decrescendo

Mute Short Fall

Mute Insects

Instrument TypesThe following paragraphs explain many of the various types of instruments (.ewi files) available in Hollywood Brass. The principles described here apply across all sections and all solo instruments.



01 LongThe instrument types in this folder include various types of:• Sustain, often written as “Sus”• Portato• Legato RepetitionsNot all varieties of these articulations (for example, accented attack and non-vibrato) are available for all solo instruments and orchestral sections. All of them can be held indefinitely; this is achieved by looping the samples.

SustainAll Sustain instruments continue to play a note audibly as long as the note is held. They are a good choice for slow-moving lines that need a consistent sound no matter how long the notes are held.

The dynamics of the Sustain patches are controlled with the Mod Wheel. The further you push it up, the louder the sound. By using the Mod Wheel instead of Velocity to control loudness, you can create a realistic crescendo and/or decrescendo during a held note.When you play any note in one of the patches all 4 dynamic layers start to play simul-taneously, but only one or two of them are audible at any one time, as controlled by the Mod Wheel. This approach increases the voice count in PLAY and makes more demands on the computer processor. If you need to reduce these demands, consider using the Sustain Lite patch described below, when available.

Sustain AccentMost solo instruments and sections include a patch which is sustained but with an ac-cent at the beginning of the note. The MIDI Velocity parameter controls the loudness of the attack. The Mod Wheel controls the loudness of the sustained note. Push up the Mod Wheel (or increase CC 1) to swell the overall volume of this instrument. And strike the keys harder (or increase the velocity in a sequencer) whenever you want a louder accent.

Sustain LiteThe “Sustain Lite” patches behave like the regular Sustain instruments, except that only 2 dynamic layers are available. This approach starts half the number of concurrent voices, compared to the usual Sustain patch.

Sustain Marcato Long and ShortIn these patches, each note starts with a marcato attack to add some strength at the beginning, but not as forceful an attack as in the Sustain Accent patch. The “Long” or

“Short” in the names specifies the length of this marcato attack.

The velocity with which you play each note affects the cutoff frequency of a low-pass filter on the marcato samples. The harder you play a note on the keyboard, the more of the higher frequencies are included, giving the note a harsher sound during the attack.



PortatoWhen playing portato, an instrumentalist holds each note its full length—or close to it—but without tying it to the next note. This creates a non-legato effect, but without making the notes sound staccato.

Legato RepetitionsThis patch provides retongued repetitions to create the sound of repeated notes within a legato phrase. These same samples are used in the Legato Slur Repetition patches where a script plays them only in the appropriate context within a legato phrase. In this patch, you can determine in which ways you want to use this sound.

Mariachi SustainThis patch includes a strong attack followed by a sustain with a lot of vibrato, in the style of a mariachi band.

Note that unlike most sustain instruments, this one does not use the Mod Wheel to con-trol dynamics; it uses Velocity instead.

Expressive VibratoAvailable only in the Solo Trumpet, this instrument starts out with no vibrato and adds vibrato as the note progresses. Use this instrument when you want the faster-moving notes to be non-vibrato but the longer notes to add an expressive vibrato.

02 ShortArticulations included in the 02 Short folder include varieties of:• Staccato and Staccatissimo• Marcato• Repetitions• Sforzando

Important Note on Reverberation and Short ArticulationsNote that, in general, short articulations do not include release trails. But there is some reverberation at the end of the main sample, once the note stops playing. This approach allows you to play fast passages without building up a lot of overlapping reverberations. Therefore, when playing a phrase of staccato notes, be sure to play the MIDI notes in a connected fashion so that you do hear the natural reverberation of the recording studio in the short rests between the sounding notes.

Even if there are no rests between short notes, be sure to hold the last note of the phrase long enough to let the reverberation of that last note ring.



Staccato and StaccatissimoThe term “staccato” refers to any note of short duration that is not connected legato to the following note. Staccatissimo is like Staccato, but with notes of even shorter dura-tion.

In Hollywood Brass, staccato notes with the highest velocity include an attack that in-cludes the rougher sound of overblowing, which features more of the higher pitched harmonics.

MarcatoWhen used in a score, the term “marcato” indicates that every note is to be accented. This articulation contains notes of a short duration that begin with a strong accent. Some 02 Short folders contain both Short and Long versions, differing in how long the note is held after the attack.

These are a Round Robin instruments with 4 sets of samples in rotation.

Shorts MOD SPEEDThis instrument allows you to use the Mod Wheel to move continuously among several short articulations. As you push the Mod Wheel up from the bottom, the articulations you hear are, in order:• Staccatissimo (0–25)• Staccato (26–51)• Marcato Short (52–77)• Marcato Long (78–103)• Marcato Long with a Sustain (104–127)The numbers in parentheses the Mod Wheel values that trigger each level.

RepetitionsIn this patch, the same note is played repeatedly at least a dozen times in quick succes-sion. For fewer repetitions, end the note before the end of the sample. This sequence of notes is more realistic than just playing the same staccato note multiple times.

This is not a Round Robin instrument. If you do repeat a MIDI note—perhaps because you need more repetitions than are recorded in the samples—the listener will hear the last repetition followed by the first one, so there’s no concern about mechanically identi-cal notes following each other.

The Mod Wheel affects the loudness, allowing you to increase or decrease the loudness during the repetitions within a single MIDI note.

Repetitions are available in 3 speeds:• Fast 170• Medium 145• Slow 120



The numbers are the base tempos for the repetitions, that is, what was played during the recording session. These instruments all “sync to tempo,” which means:• In standalone mode, the tempo matches the value entered in the Engine Tempo Sync

control available in the dialog box from Main Menu > Current Instrument > Advanced Properties.

• When PLAY is hosted in a sequencer, the tempo matches the speed of the MIDI tempo in the sequencer.

Each patch sounds best when the tempo to which it is being synced is close to its base tempo. For example, at a tempo of 160, use the closest patch, Fast 170, for the most lifelike playback.

You may need to adjust the length of the MIDI note a little bit in order to end the se-quence between repetitions and not in the middle of one of the repeated notes.

Note: unlike most instruments in the 02 Short folder, this one does include release trails.

Triple PerformanceFor the 3 Trumpets, there’s a patch called “Triple Performance” that repeats the selected note exactly 3 times in quick succession. Unlike the Repetitions patches, this does not respond to the Mod Wheel to affect the loudness.

Double TongueSome articulation files indicate that they use the technique known as double tonguing. This effect lets the user achieve a faster sequence of notes by stopping the airflow alter-nately with the tip of the tongue and with the back of the tongue against the palate. The tongue moves in the same pattern as when saying “tiki tiki tiki.”

Sforzando CrescendoThe Solo Horn and Solo Tuba include a patch called Sforzando Crescendo. Each note starts with an accented attack (sforzando) which is followed by a strong crescendo.

MIDI Velocity controls the loudness—and the timbre—of the attack as well as the loud-ness of the crescendo.

When a note is played short enough to end before the crescendo, this patch can act as a sforzando staccato patch.

03 EffectsThe instruments in this folder fall into several types:• trills• rips and shakes• crescendos• flutter tongue• clusters• special effects (FX) , rises, and oddities



Trills

A trill is the rapid alternation between two notes either a half tone or a whole tone apart. Any file with “HT” in the name contains a half-tone trill. And with “WT” in the name, it contains a whole-tone trill. With “KS” in the name, it contains both versions of the trill and the user can select which version using a keyswitch note: play C0 in advance of the trill for a half-tone trill or play C#0 in advance for a whole-tone trill.

This instrument responds to the Mod Wheel to control the volume. It does not respond to MIDI Velocity. This approach allows you to increase or decrease the loudness mid-note, that is, during the trill.

Rips and ShakesBrass instruments (especially the horns, but also the trumpets) can play a characteristic sound called a rip. This is a kind of glissando that works up the scale of harmonics. The effect evokes the sound of a natural hunting horn.

Horns can also perform an effect called a shake: the sound is similar to a short trill but coarser (less controlled).

The shake is sometimes used in jazz performances. And this library includes a few ex-amples with a jazz-specific sound.

These two effects can also be combined into a patch known as a rip shake.

The patch called Rip Flutter Tongue starts with a short rip and then holds the end note with a flutter tongue. The rip at the start has its volume controlled with the Velocity para-mater. The the loudness of the sustained flutter tongue is controlled with the Mod Wheel.

CrescendosThe crescendo instruments capture the sound of a single-note crescendo, a common us-age in brass music. Using one of these instruments can often more realistic than using MIDI volume or expression to achieve the effect. In most cases, there are Fast, Medium, and Slow versions available. In an instrument called “Crescendo MOD SPEED,” the speed of the crescendo is controlled by the Mod Wheel (CC 1): the further you push up the Mod Wheel, the faster the loudness increases:• Slow (1–42)• Medium (43–85)• Fast (86–127)The numbers in parentheses specify the Mod Wheel (CC 1) values that trigger each speed. These are 3 discrete levels; so, for example, pushing the Mod Wheel from 50 up to 70 does not increase the speed.

These patches do not include release trails.



Flutter TongueWhen a brass player flutters his tongue while playing, similar to the rolled R in some languages, it produces a characteristic sound captured in the several Flutter Tongue files in this library.

The Mod Wheel affects the loudness, allowing a continuous crescendo or decrescendo mid-note. Velocity does not control loudness for this instrument.

ClustersWhen the several players in a section play different notes close to each other in pitch, usually a minor or major second apart, the effect is called a cluster.

Use the Mod Wheel to control the loudness, even in the middle of a single note. The Velocity parameter does not influence the dynamics.

Because more than one pitch is being played, you may need to experiment to find the best MIDI note to achieve the sound you want.

Special Effects (FX), Rises, and OdditiesThe Hollywood Brass library contains several instrument files with unusual effects. You will get a better idea of what is available by listening than by reading any attempt at descriptions.

04 KeyswitchIf you are not familiar with how to use a keyswitch instrument in PLAY, see more informa-tion starting on page 38 in this manual, and also the Keyswitches section in the main PLAY System manual.

Note: the first release of this library shipped without the keyswitch files that will be pro-vided in a updated release scheduled to follow shortly after the first public release. If the library installed on your hard drive does not include keyswitch files, check with EastWest Customer Support to see whether they are available.

All the Hollywood Brass keyswitch files follow the same pattern. The list below spells out which articulation is assigned to each keyswitch note. But be aware that not every solo instrument and section includes the same set of articulations. If an articulation is not available in any particular file, using that keyswitch note results in no sound being produced until a working keyswitch note is played.



KEYSWITCH NOTESC0 sus

C#0 sus accent

D0 marcato long plus sus (or marcato short if long is not available)

D#0 legato repetitions

E0 staccatissimo

F0 trill half step

F#0 trill whole step

G0 crescendo Mod Wheel

For any instrument that extends down to this range with playable note, such as the Solo Tuba, this pattern of keyswitch notes is transposed up to a higher octave. You can always use the blue notes in PLAY’s on-screen keyboard—or the names in the Articulations win-dow—to find the correct octave.

05 LegatoFor most brass instruments, a legato sound is created with a slur that joins the two con-secutive notes without a fresh attack at the start of the later note. This slur occurs only when there is no significant gap between the end of the earlier note and the start of the later note. In addition, the two notes have to be at most an octave apart. Moving from D3 to D4 generates a legato slur; moving from D3 to D#4 does not.

Trombones, by virtue of their slide mechanism, can generate another kind of legato, one in which there is some amount of portamento connecting the two notes, an audible anticipatory movement of the pitch toward the next note. This effect is known as “slide legato.”

Legato SlurThe basic slur legato patch creates a slur between notes as long as there is no delay between the end of the first note and the start of the following note. Plus, the interval between the two notes has to be no more than an octave.

The volume is controlled with the Mod Wheel and not with Velocity. In addition, in the loudest range of dynamics, the Mod Wheel opens a low-pass filter to allow the rougher sound of overblowing to color the notes more and more as the Mod Wheel value gets closer to the maximum of 127.

MIDI Velocity is used to control the speed of the legato transitions. The harder you press on the keys, the faster the slur between notes.

Because these patches always start playing 4 sustain samples (and cross-fade between them based on the Mod Wheel) and also use separate sample to provide the slurs, be aware that the patches use more computer resources than most of the simpler instru-ments.



Legato Slur AccentThis patch works the same as the basic Legato Slur (described above) except that it in-cludes an accent at the attack. While the volume of the notes is controlled with the Mod Wheel, the strength of the accents is controlled with the Velocity.

Legato Slur RepetitionsThis patch is similar to the basic Legato Slur except that it also uses separate samples to handle repeated notes. For example, if in a phrase 3 notes of the same pitch are played consecutively without space between the notes, the second and third occurrences use a retongued version of the note to achieve the correct sound.

Slur RunsThis patch provides a slur legato sound with a lot of portamento that works well in very fast runs. Each note can be held indefinitely, so if you want to, for example, run up to a note and hold it, you can use this patch for both the run and the held note.

The characteristic sound occurs only when the interval between consecutive notes is either a minor second or a major second. Larger intervals do not create the strong slur.

Dynamics for this instrument are controlled with the Mod Wheel, not Velocity. And, as with the basic Legato Slur patch, this one uses a lot of resources because each note uses 4 Voices for the 4 dynamic levels playing concurrently.

Monophonic Behavior in Legato InstrumentsBy default, all legato instruments are monophonic. By allowing only one note to play at a time, PLAY makes sure that there is no ambiguity about what two notes should have a legato transition between them.

It is possible to turn off the monophonic behavior with MIDI Control Code 22. When in the top half of its range, 64–127 the controller preserves the default behavior. But whenever CC 22 is in the range 0–63, polyphonic behavior is turned on. You do need to listen to the output carefully to see whether there are unwanted legato slurs between notes in different polyphonic voices. If so, one remedy is to move those two voices to separate MIDI tracks.

06 MutesThe use of mutes provides brass instruments with a wide variety of timbres significantly different from the un-muted sounds. These mutes fit into the flared bell of the instru-ments, but are fashioned into various shapes to achieve the desired sound. The 06 Mutes folder contains muted instruments performing many of the articulations listed in previ-ous sections, such as staccato, legato slur, crescendo, and clusters. See the tables above for what is available for each section or solo instrument.

Another way to mute a brass instrument is to place one’s free hand in the bell. Such a mute is called a “stop.” It is most characteristic of the French Horn.



See the descriptions of the unmuted versions of these instruments for details about Mod Wheel usage and other factors.

The Solo Trombone instruments in the 06 Mutes folder include some specialized hard-ware, such as the plunger mute. You should audition these muted patches to see which ones provide the sounds you’re looking for.

In general, it is more effective for you to audition the many varieties of muted articula-tions than to read about them in a manual.


42


5. Orchestral Technique in Hollywood Brass

43 Setting Up Templates 44 Opening Multiple Instances of PLAY 45 Prepping the MIDI Controllers 45 Creating a Soundscape 47 Volume, Velocity, and Expression 48 MIDI Envelopes and Control Data 49 Using Cross-Fades 50 Achieving a Legato Sound 50 Directing the Audio Output


43Chapter 5: Orchestral Technique

Orchestral Technique in Hollywood BrassThis chapter discusses ways to use EastWest/Quantum Leap Hollywood Brass to achieve the traditional sound of instruments in an orchestra. The first section is advice from the producers about setting up templates.

Setting Up TemplatesAn ideal way to work with any large orchestral ensemble is to set up templates once you have gotten to know the sounds and how all the features of PLAY work. You might, for instance, have a comedy template that has a lot of staccato articulations, rips, and crescendos; and/or an epic template that includes a lot of legato patches. Obviously, the more computers you have and/or the more capable the computers, the bigger your templates can be.

Once you have decided on what patches will go inside your template and have made sure they will all fit into your available RAM, you should load everything and save the setup for each instance of PLAY to its own .ewi file or, if you have multiple instances of PLAY loaded inside a sequencing program or VST host, it is as simple as saving the sequence or VST host file. This will remember everything inside. If you are using multiple comput-ers, make sure you have created a track in your sequence for every program on every computer.

One last thing to consider when deciding which computer will load which sounds is the amount of work each computer will have to do. Make sure to spread the sounds that you use most onto different computers so one computer doesn’t end up carrying a majority of the load.

Remember that if you’re running Hollywood Brass on more than one computer concur-rently, you will need an iLok security key and a license for each computer.

The next stage is crucial and highly subjective. All PLAY libraries responds to two differ-ent volume controllers: CC7 (volume) and CC11 (expression). It is highly recommended you record a CC7 message at the beginning of every track. Spend some time to set the initial volume of every track at a level in natural balance with the rest of the ensemble. This is tricky and will never be perfect, but the more time you spend the less hair you’ll lose later. If you will be using Hollywood Brass exclusively, the balance of section is eas-ier than if you’re bringing in other, non-brass instruments. If, for example, you’re using Hollywood Strings, plus the woodwinds and percussion of EWQLSO in addition to Hol-lywood Brass, then start by playing the timpani, french horns, and big string ensemble really loud and at the same time; that will give you a reference of what the loudest pas-



sages will be like. Together, they should be at least 3 db below 0. Then adjust the other instruments to blend with these loudest instruments.

It’s recommended you not use MIDI volume (CC7) for any other purpose than this volume setting at the start of each track. Use CC11 to change volume and breathe life into your compositions. This way, CC7 acts as a limiter and keeps everything from getting out of whack. Also, you can easily change the prominence of an entire track in the mix by ad-justing this single CC7 level at the start of the track.

At this point, you should save the sequence before moving on. Then go to your matrix edi-tor (or whatever it’s called in your sequencer) to set up windows that display CC7, CC11, and CC1 (Mod Wheel) information. You will be editing these last two a lot, so it’s a good idea to make these windows easy to access. Save your templates and you’re ready to go.

Opening Multiple Instances of PLAYWith the PLAY 3 software, it’s possible to open more than one instrument in each in-stance you run—and this is true whether running PLAY in standalone mode or within a host. But there are often compelling reasons for spreading instruments across multiple instances. (An “instance” is each open window running PLAY. So, if, for example, you see exactly 3 PLAY windows inside your sequencer—or on your desktop when running standalone—then you have opened 3 instances.)

The main reason for opening the PLAY software more than once—especially when using PLAY as a plug-in within a sequencer or other host—is to be able to take full advantage of the multiple cores available in today’s high-end computers. If, for example, your computer’s CPU has 4 cores, then each of the 4 cores can be independently running separate parts of the software.

Sequencers typically assign all the processing in any given instance of a plug-in to a single core. So, in one case, if you load all your instruments into a single instance of PLAY, the work of running all those instruments will be restricted to a single core, which is less efficient than spreading the work across all the cores. But, in another case, if you create at least as many instances of PLAY as there are cores in the CPU, the sequencer can assign the instances across all the cores, which most likely means you can open more instruments and play them back without problems.

As a general rule, if you’re using more PLAY instruments than you have cores in your computer, then it’s best to open at least as many instances as you have cores. Let’s say you have a 4-core computer and are planning to open 10 PLAY instruments. You could open 4 instances of PLAY and spread out the patches 3, 3, 2, and 2 per instance. Or you could open 10 instances with one instrument each. Or some arrangement in between. The exact arrangement that’s best for you depends on which instruments, how consis-tently each is heard through the piece, the complexity of the instruments (cross-fades are often using more CPU resources at once than other patches), and other factors. If you come up with an arrangement in which each instance is using about the same number of voices as the other instances, then you’re likely using your instances efficiently.



Prepping the MIDI ControllersIt is recommended that you tell PLAY what MIDI Control Codes to look for by sending some Control Code messages after loading the patches and before the first notes are played. When playing live, that can mean tweaking each of the knobs, sliders, and wheels enough to send some data to PLAY. In a sequencer, you can draw a short sloped envelope for each controller before the first notes. This advice applies to the Mod Wheel (CC 1), CC 7, CC 11, and any other Control Codes in your project.

Creating a SoundscapeWhether listening to an orchestra live on a stage or from a stereo recording, we’re all used to hearing the sounds of the various instruments coming at us from different direc-tions. In a traditional symphonic layout for an entire orchestra, for example, we expect the violins to be on our left, and the cellos and basses on our right. There are two rea-sons we might want to continue this practice. The first is to trick the listener’s ear into perceiving a recording of a live performance. Even when everyone understands that the piece was created inside a computer, emulating a traditional sound can have its ben-efits. The second reason is that it’s easier for the human ear to hear two similar sounds as separate when it perceives them as arriving from different locations. If the trumpets and the trombones are doubled, or even playing an octave apart, they will stand out from each other better when they seem to be in separate locations in the soundscape that surrounds us.

PanningAs was done with EastWest’s ground-breaking Symphonic Orchestra, Hollywood Brass is different from most other collections of orchestral samples in that the panning of the various instruments to the traditional locations on the sound stage is built in to the stereo samples. The French Horns, for example, are already louder in the left channel. Therefore, one can leave the panning level at “center” for all instruments and they will be correctly placed on the stage in the final mix. Of course, if you want to adjust the pan-ning to achieve your own sound and/or a non-traditional placement of instruments, that can be accomplished either in the PLAY interface or in the host sequencer.

AdvAnced: The previous paragraph has one exception: the Close microphones. These samples were recorded with the stereo mics directly in front of each instrumental section. The Close mic articulations use the Pan control to move the play-back of those samples to the same perceived space as the Main, MId, and Surround samples. The diagram at the right shows the 4 microphone-specific Pan controls for one of the Trumpet articu-lations. The trumpet players sits on stage to the audience’s right. This image shows the way the file opens with no user changes. Note that the Main, Mid, and Surround Pan controls are in the center because those samples were recorded with the stereo mics cen-tered at the center of the studio; no panning adjustment is necessary. The Pan control for the Close mics (at the far left) is turned to the right so that when all four sets of samples are played together the sound cues position the trumpets in a consistent location.



The “spread” of the sections in Hollywood Brass is smaller than in Symphonic Orchestra. If you want a wider feel, you can pan the instruments a little to achieve that effect.Note that the natural panning within the Hollywood Brass samples has one subtle fea-ture that reverb plug-ins do not offer: correctly timed reflections from all surfaces. To understand this concept, consider a double bass player who is 5 meters from the wall to our right and 45 meters from the wall to our left. We are seated half way between the walls. The reflection from the right wall, which will be louder in our right ear, travels 30 meters (5 plus 25); the reflection from the left wall, louder in our left ear, travels 70 meters (45 plus 25). That 40-meter difference means that the reflection arrives in our right ear approximately one-ninth of a second sooner than in our left ear, a significant difference. And the other instruments all have their characteristic left/right delay based on where they sit on the stage. It is impossible for a single digital reverb to achieve that level of realism.

Proximity CluesPanning left or right is not the only way to separate instruments. It is also possible to move them forward and backward. This can be achieved in three ways:1. Dynamics relative to timbre2. Delay3. Presence (Diamond Edition only)

1. When most musical instruments change from being played louder to softer the timbre of the sound changes. Even if you let someone else adjust the volume control on your stereo, you can still tell whether the trumpet you’re hearing was played loud or soft based on the instrument’s tone; most instruments have a harsher sound when played louder. So, in an orchestral mix, if the trumpets seem to be played loud, but the volume level of that instrument compared to others is softer, then the ear assumes the trumpets are farther away. Adjusting independently the timbre—with velocity parameters and/or a cross fade using the Mod Wheel or CC 11—and the volume of the sound, you can move individual instruments forward or backward.

2. Because sound travels at a fixed speed of approximately 340 meters per second (1100 feet per second), the ear uses very small time delays to judge relative distance. If two trumpets play staccato notes simultaneously, and one is 15 meters (50 feet) further away, the note from the more distant violin arrives 0.044 seconds later. That’s about one twenty-third of a second, a short time but noticeable to the ear. It’s very easy in a sequencer to delay a track by a specific time—either with a Delay plug-in or by shifting the notes in the sequencer’s Piano Roll view—and thereby achieve this effect.

3. As discussed in the section covering the 5 mic positions (not available in the Gold Edition), the farther you are from an instrument in a concert hall the more the natural re-verberation of the hall contributes to what you notice. (You still hear the echoes from the walls when you’re close by; you notice them less because of how loud the instrument is. It’s harder to hear the crinkle of a cough drop wrapper standing near a roaring jet engine than in a hushed concert hall, even though the wrapper makes the same sound.) This



“presence” of the sound is another distance clue. Mixing in more of the Close samples for an instrument makes it seem closer to the listener.

By combining all three principles, you can achieve quite convincing front/back position-ing in your orchestral mix. Giving the ear contradictory signals can confuse it, achieving either a good or bad effect, depending on your intentions.

And then, of course, there’s multi-channel surround sound, but that discussion is out of scope in this section.

Volume, Velocity, and ExpressionThere are at least three ways to make a sampled instrument sound louder, or at least make the real instrument seem to have been played louder. The skilled MIDI orchestrator uses all three.

Volume is just the loudness of the generated sound. Changing volume is basically the same as turning the volume knob on your audio system. The horns played softly can be cranked up; a loud trumpet section can be turned way down.

Volume can be adjusted mid-note; that is, the listener can experience a crescendo or diminuendo for a held note. Even un-natural sounds can be created, such as a crescendo for a single pizzicato note on a violin.

And, as with a live orchestra, the various instru-ments are changing their loudness independently, something you cannot do with the stereo’s loud-ness knob.

But, as was mentioned in the section on setting up templates on page 43, it is not recommended that the MIDI volume parameter be used in this way.

Velocity, a term based on how strongly a keyboard player hits the keys, controls how forcefully the note is played. Adding force changes not only the loudness of the notes, but usually also changes the notes’ timbre. With a piano’s action, the velocity cannot affect what happens to the sound after the hammers hit and leave the strings, and veloc-ity works the same way here. In the current implementation of MIDI, velocity is usually designated by a number between 0 and 127. Many software sequencers display velocity as vertical bars, something like those at the bottom of the image above.

Most modern sample players, PLAY included, can play different samples for different ranges of velocity. For example, the team creating the samples record Middle C with the solo trombone for pp, p, mp, mf, etc. The team then assigns the pp samples to, say, velocities 0–25, the p samples to velocities 26–45, and so on. Because each dynamic level of a violin has its own timbre, a note’s velocity can affect not only its loudness but also its timbre.



Velocity changes are, therefore, a much better way than volume changes to achieve natural-sounding dynamics. The disadvantage of velocity is that it cannot be changed mid-note. Using loudness and velocity together gives the orchestrator more control over all aspects of dynamics.

Do note, though, that Hollywood Brass often uses the Mod Wheel (CC 1) instead of Ve-locity to control dynamics, especially in notes that can be held for a long time. See the descriptions of specific patches to see which of them use this approach.

Expression is represented by another MIDI control code: CC11. The usual way to use CC11 is for continuous control of the loudness. That is, while Velocity cannot change mid-note, and it is recommended that CC7 be set only once at the beginning of the piece—or at least only at the start of major sections—CC11 can provide the kind of dy-namic shaping of notes that give music its expressive life (hence the name “Expression” for this Control Code). Use it to create swells in the middle of a note or of a phrase. With CC11, you create the crescendos and fluid dynamics of expressive music.

It is possible to shape the dynamics of a line either by “playing” a CC11 controller in real time, or by drawing an envelope in a sequencer. Most MIDI keyboards and control sur-faces have programmable knobs and/or sliders that can be set to send CC11 messages to a specific MIDI channel. (Sliders are generally more sensitive for real-time control.) If your sequencer supports automation, it can record the movements of the knob or slider and save them as part of the project. Such manual and real-time control over the shape of an instrumental line is usually more efficient than drawing in an envelope, and often achieves more convincing results.

EastWest’s choice to use CC11 allows CC7 (volume) to be used in other ways. The usual convention is to use the volume slider in your sequencer to adjust the overall volume level of each track in the mix, and to do that once at the beginning of each track.

Although the volume and expression controls can be adjusted separately, the volume setting does change how expression af-fects perceived volume. Think of CC7 as setting an upper limit on the dynamics at any moment. Expression, like most con-tinuously changeable values in MIDI, takes values between 0 and 127. CC7 specifies how loud a sound to generate for the maximum expression, 127. The diagram seen here shows that when volume decreases the fixed changes in expression repre-sent smaller changes in perceived loudness. Changing from an expression level of 50 up to 100 represents a smaller change

in loudness when the volume control (CC7) is reduced.

MIDI Envelopes and Control DataMost modern sequencers let you draw an envelope for MIDI control codes. The diagram below with the yellow curve is an example of an envelope for CC11. Notice how the val-ues are constantly changing, the same way a trumpet player adds musicality and interest

CC7 curve

CC7 = 0

CC7 = 127

— CC11 = 100

— CC11 = 100— CC11 = 50

— CC11 = 50

perc

eive

d vo

lum

e le

vel

time



to a phrase by changing the pressure of her breath moment to moment. (The dark hori-zontal lines near the top are the notes.)

When saved as MIDI data, this same envelope appears as a finite set of commands, as in the next image. In a sequencer track, these often appear as vertical lines, each line being a command to change the value—in this case to change CC11.

The other way—and many say it’s the better way—to send CC11 events to the sample player is with a MIDI controller, either a keyboard or a control surface. As long as you or your group has an extra hand—or foot, if you use a pedal—you can enter these control codes while playing the notes into the sequencer. This allows you to hear the interchange among the notes, their velocities (how hard you’re hitting the keys), and the expression being added with CC11.

This process can also be done in two passes—notes first, then control data—if your setup allows you to record automation data to a track that already contains other MIDI data.

Everything written about CC11 in this section also applies to CC1 (Mod Wheel) and all other MIDI control codes. Learning to shape musical lines the same way an instrumen-talist does will give your work a more natural musicality. By combining velocity control, expression, Mod Wheel, and volume, you change digital samples into real, living music.

Using Cross-FadesHollywood Brass makes extensive use of cross-fading, more than any EastWest library that was created before it.

The basic idea of a cross-fade is that 2 or more samples of the same instrument—but that differ in some aspect, such as loudness, timbre, and/or vibrato—are played back simultaneously. And the mix of how much of each sample makes it into the audio output is controlled by some MIDI control code. Traditionally, that has been Control Code 1 (the Mod Wheel).

Part of the reason for using more cross-fades is that they provide a more continuous and gradual change from one sound to another. Also, they modify timbre along with loud-ness, even mid-note, just like an acoustic instrument. And a third reason for using more



cross-fades in this library is that recent improvements in hardware and software make this much more realistic approach possible.

In Hollywood Brass, look for cross fades in articulations that can be sustained and also instruments where you can move between several short articulations, as the “Mod Speed” patches.

The only real reason not to use cross-fade instruments as often as they’d be useful in your projects is that they use significantly more of your computer’s resources. For example, some Sustain instruments can open as many as 8 concurrent voices at once.

Achieving a Legato SoundThere are two different technologies available in Hollywood Brass for achieving a legato sound:• the instruments in any of the Legato folders• the Legato and Portamento scripts

The Legato instruments in Hollywood Brass include recordings of live musicians playing true legato transitions of up to an octave, both upward and downward. The PLAY engine combines these seamlessly with other notes to create very convincing legato passages. These legato transitions are heard not only in instruments you might use for flowing le-gato phrases, but also in the playable runs that are intended for very fast passage work.

Most of the time for brass instruments, this legato sound is slur legato. But for the trom-bone, a slide legato is also possible.

Use the true legato instruments when you want a convincing legato sound in your phras-es and you don’t need some other articulation to predominate. The individual legato instruments are described starting on page 39.

The Legato and Portamento scripts can simulate legato transitions with scripts. There-fore, they are useful when you want a touch of legato sound between notes for some other articulation, such as between consecutive trills or marcato notes.

See more about these scripts where Performance scripts are described, such as page 49.

Directing the Audio OutputThe output from PLAY is one or more stereo audio signals. The image at the right shows 9 stereo pairs of outputs in the drop-down list from the Master Output control. Each instance of PLAY has its own outputs separate from those of every other instance.

If you are using PLAY as a plug-in in a host, you can usually specify whether you want the output audio to be captured in a single track or maintained as separate tracks. The image at the

left shows how one sequencer (Sonar) gives you a choice. The first checkbox creates a



single track to hold all the audio output (with the assumption it will be the first stereo pair: “1-2”). The second checkbox creates 9 audio tracks, one for each of the stereo pairs in the drop-down list shown at the right. The third creates 18 mono tracks, in case you want to keep the left and right tracks separate. See the documentation for your se-quencer to learn how that selection is made in the host software you use.

If you’ve selected to set up a single track to hold all the audio output from one instance of PLAY, and you open multiple instruments in this instance, then all the instruments will be mixed in the PLAY audio engine and written to the track as a single stereo signal.

If, instead, you’ve selected to set up multiple tracks, then you can select the track for each individual instrument and possibly each individual microphone position. Outputs that share the same channel are mixed in the PLAY audio engine and written out as a single track. Outputs on different channels are written independently to different se-quencer tracks, and available to be mixed within the sequencer at a later time.

AdvAnced: Note that the sequencer may be able to generate a monophonic track from the stereo output, but that will happen in the sequencer; PLAY always outputs a stereo signal. See the sequencer’s documentation if you want to generate a monophonic track.


52License Agreement

EASTWEST/QUANTUM LEAP LICENSE AGREEMENT

EASTWEST END USER LICENSE AGREEMENT: Please read the terms of the following audio samples License Agreement before using these audio samples. By opening the packaging and installing these audio samples, you agree to become bound by the terms of the License Agreement. If you do not agree with the terms of the License Agree-ment, do not open the packaging or use these audio samples. East West Sounds, Inc. (“Licensor”) guarantees that all of the samples with these discs have been created and recorded specially for this project, and any similarity to any other recording is uninten-tional. 1. The audio samples recorded with these discs remain the property of Licensor and are licensed, not sold, to you for use with your sampling software or equipment. 2. A right to use the enclosed sounds is granted to the original end-user of the product (Licensee) and is NOT transferable. 3. The Licensee may modify the sounds. LICENSEE MAY ONLY USE THE SOUNDS FOR COMMERCIAL PURPOSES WITHIN MUSICAL COM-POSITIONS. 4. This license expressly forbids resale, relicensing or other distribution of these sounds, either as they exist on these discs, or any modification thereof. You cannot sell, loan, rent, lease, assign, upload to or download from any server, or transfer all or any of the enclosed sounds to another user, or for use in any competitive product. 5. Li-censor will not be responsible if the contents of the hard drive does not fit the particular purpose of the Licensee. If in doubt over usage, please contact East West Sounds, Inc. by fax: (USA) 323-957-6966 or email: [email protected]. ALL RIGHTS RESERVED.©2011EASTWESTSOUNDS,INC.•WindowsXP/Vista/7areregisteredtrademarks of Microsoft Corporation. Pentium is a registered trademark of Intel. VST Instruments is a registered trademark of Steinberg Media technologies AG. OS X, Audio Units and Core Audio are registered trademarks of Apple, Inc. All other product and company names are trademarks of their respective holders. All specifications are subject to change without notice.

Hard Drive UseThe hard drive on which Hollywood Brass (Diamond Edition) ships is a bare (internal) drive. If you don’t want to install it to copy the data, we suggest purchasing a hard drive dock. The hard drive is supplied for installation purposes and as product media only. It is not intended for daily use (such as for storing the samples for streaming). EastWest assumes no responsibility or risk if the drive is used for other purposes.

Hard Drive Warranty (Diamond Edition only)The hard drive containing Hollywood Brass is covered by EastWest’s “Limited Replace-ment Only 30 Day Return Policy.” If the hard drive develops a defect, it may be returned to EastWest within 30 days of shipment. Hollywood Brass may only be returned for a replacement of the hard drive. No refunds are available. “Return” constitutes receipt of the product by EastWest, and not the mere issuance of an RMA. Beyond 30 days, the manufacturer’s warranty will apply and returns and service must be arranged with the drive manufacturer. EastWest will replace the data should a drive replacement become necessary.

Documents

Quantum Leap Hollywood Brass Virtual Instrument Manual... · chestra, Symphonic Choirs, Quantum Leap Pianos, Hollywood Strings, and Hollywood Brass are co-produced by Doug Rogers